Casey Jane Ellison

Stewart Uoo brings cult event It’s Get Better to London for a night of POC, queer, feminist + radical perspectives at ICA, Sep 15

13 September 2017

Stewart Uoo is presenting the It’s Get Better V night of performance, screenings and a dance party at London’s ICA on September 15.

As the first London iteration of the cult event, the New York-based artist brings together musicians, artists, performers, and poets; “friends, collaborators and heroines,” alongside a programme of film and video works that extend across the ICA building from sunset to sunrise (8pm to 5pm).

Organised around “perspectives from persons of colour and investments in queer, feminist and radical content,” artists taking part in performances include Embaci & DasychiraJuliana Huxtable, Manara, Nkisi, Jacolby Satterwhite, and Raul De Nieves among others, as well as screenings of work by Janiva Ellis, Casey Jane Ellison, Joyce NG & KleinTrevor Shimizu, Ryan Trecartin, Evelyn Taocheng WangMorag Keil and more.

There will also be an installation by Natasha Lall.

See the ICA website for details.**

Nkisi (2015). Performance view. Photo by George Howard. Courtesy Bold Tendencies, London.
  share news item

Inescapable internet + screen dependency in Daata Editions’ ‘A Goth Life’ looping screening at Art Cologne, Apr 26 – 29

24 April 2017

Film Cologne curated by Daata Editions presents ‘A Goth Life’ at Art Cologne, opening April 26 to the 29.

The film selection “narrates a composite tale of our joyously soulless, insular, tension and angst-ridden times” and includes work by Larry Achiampong, Keren Cytter, Casey Jane Ellison, Ed Fornieles, Yung Jake, Rachel Maclean, Jillian Mayer, Takeshi Murata, Hannah Perry, Hannah Quinlan & Rosie Hastings, Jacolby Satterwhite and Zadie Xa.

Now in its 51st year, Art Cologne 2017 will mark a new collaboration with video, sound and web-based art platform Daata Editions. Played on a loop throughout the duration of the fair, the selected films all touch on the “inescapable internet and screen dependency” of our times.

Visit the Art Cologne webpage for more details.**

  share news item

rheo-GRANDE @ Anonymous Gallery, Jun 30 – Sep 2

30 June 2016

The rheo-GRANDE group exhibition is on at Mexico City’s Anonymous Gallery, opening June 30 and running to September 30.

Organised by Kayla Fanelli and Joseph Ian Henrikson, the show explores the formation and performance of identity, as well as “how self and language are defined within a contemporary condition steeped in virtual networked communities.” Petra Cortright, Casey Jane Ellison, Ed Fornieles, Bunny Rogers and Jacolby Satterwhite are among the artists exhibiting, in a cross-generational survey that includes the work of other artists whose practices date from the 1970s onwards, including Kembra Pfahler, Kalup Linzy, Charles Atlas and Cindy Sherman.

Further representing for those who’ve come of age with new technologies and the dawn of the digital era (“forever altering the way we look at images”) are Andrew BirkNandi Loaf, Cobi Moules,  Ryder Ripps, Mira DancyManuel Solano, Ryan Trecartin, and Joshua Citarella and Brad Troemel‘s UV Production House.

See the Anonymous Gallery website for details.**

Petra Cortright, die Rose (2016). Installation view. Courtesy Société, Berlin.
Petra Cortright, die Rose (2016). Installation view. Courtesy Société, Berlin.
  share news item

The Real World @ Steve Turner reviewed

11 January 2016

The artists involved in The Real World are no strangers to the internet. Running at LA’s Steve Turner from December 12 to 30, the work in the exhibition by Ann Hirsch, Jayson MussonCasey Jane EllisonYung JakePetra Cortright and Ryder Ripps speaks to the space between art and the online, and how that space takes its form, be it in Coogi sweaters or ethereal data.

Four partitioned video pieces are located in the center of the gallery, installed on a free-standing kiosk. The main gallery space is filled with the sound coming from Yung Jake’s music video piece ‘Both (2015) which sits at the exhibition’s natural middle. The video plays panoramically between two flat screen television monitors, oriented vertically on the wall. It’s a reference to it’s initial release in September via Yung Jake’s personal Snapchat, available in two parts and requiring two smartphones to be viewed correctly. The video follows Yung Jake and two woman companions through a variety of lively party scenes, cutting between places and people, non-sequentially playing out like a contemporary advertisement for Hypnotique brand liqueur.

The Real World (2015). Exhibition view. Courtesy Steve Turner Contemporary, Los Angeles.
The Real World (2015). Exhibition view. Courtesy Steve Turner, Los Angeles.

The kiosk is bookended by Hirsch’s paintings ‘Ann Mirsch’ (2015) and ‘50 Shades Wedding’ (2015) on one wall and Musson’s mercerized cotton canvas ‘Black Bisector’ (2015) on the other. Mounted directly across from Yung Jake’s ‘Both’ is the kiosk that houses Musson and Hirsch’s respective webcam pieces, ‘How To Be A Successful Artist’ (2010) and ‘Physical Contractions’ (2015), creating a unique triangular dialogue of success. Hirsch’s video piece and paintings all reference marriage and procreation. Musson performs as ‘Hennessy Youngman’, an invented vlog persona instructing his viewer on how to succeed in art (being both white and ambiguous are key). ‘Black Bisector’ comprises the shreds of several Coogi sweaters to create one huge composition as iconic as those worn by rapper Biggie Smalls himself, while Yung Jake’s opulent music video reminds us that he’ll take both, specifically when he can’t decide between “two bad bitches”. Also included is Yung Jake’s ‘Hypnotiq and Cîroc Bottles’ (2015) wall-hung sculpture, made from found metals and digitally manipulated liquor bottle vinyl wrap transfers. It’s a mash-up of digital and physical spaces referencing the drinks’ history of promotion and advertising in hip-hop music and culture.

Installed directly opposite is Ripps’ ‘Unidentified Person 2 and 3, Sotheby’s Contemporary Curated Auction Party’ (2015) – a contrasting diptych of two portraits pulled from grainy surveillance footage and then UV-printed immaculately onto brushed aluminum. Ripps’ ‘’ (2010), a seemingly endless voyeuristic view into an online chatroom, is simultaneously entertaining and frustrating. The viewer has no control over pace, content, and can in no way interact. This frustration is complemented by Cortright’s video ‘banksi unbrush ponitaeyel’ (2015), which plays beside Ripps’ piece, showing the artist trapped in a corner by an endless barrage of colorful digital interference. It’s a reference to Cortright’s early video works posted originally to YouTube and serving as defining works of early online video art where the artist digitally manipulates her own face via webcam.

Casey Jane Ellison, 'It’s So Important to Seem Wonderful Part II' (2015). Installation view. Courtesy Steven Turner Contemporary, Los Angeles.
Casey Jane Ellison, ‘It’s So Important to Seem Wonderful Part II’ (2015). Installation view. Courtesy Steven Turner, Los Angeles.

Casey Jane Ellison’s ‘It’s So Important to Seem Wonderful Part II’ (2014) utilizes a separate room to house a three-channel projection with accompanying sculptures and a smaller video piece at the room’s entrance. The moving images most prominently feature a crudely animated 3D self-portrait of the artist that glitches and meanders alongside the audio, obviously out of sync. It amounts to a sense of discomfort and fascination as the artist carries her monologues at a stand-up comedy pace. 

Site-specific art is historically the anti-gallery practice. It is art created to exist in specifically one place. At its most refined form, it is a rejection of the commodification of art. This theme plays out conceptually in The Real World as the viewer is confronted with works that exist both in ethereal sites online, and within the commercial gallery itself. The exhibition title could be a tongue-in-cheek reference to the ‘real’ world as we know it becoming ever-more digital, or an obvious nod to the 3D pieces included in the show. It feels more as if it comes full circle, back to the digital origins of these six millennial artists and their website-specific works. **

Exhibition photos here.

The Real World group exhibition was on at LA’s Steve Turner, running from December 12 to 30, 2015.

Header image: Yung Jake, ‘Both’ (2015). Install view. Courtesy Steven Turner, Los Angeles.

  share news item